Just out., February 21, 1997, Page 29, Image 29

just out ▼ February 2 1 , 1907 ▼ 2 9
P ow er
of
ombard
T wo
Cris Williamson and Tret Fure spread the love around
with a second duet CD, Between the Covers
v
by Inga Sorensen
f Cris and Tret could only bottle it.
“We’ve been together for 16 years and
it gets better every year. That ’ s the absol ute
truth,” swears the folksy and freshly-tumed-
50 Cris W illiamson, one of the few
“women’s music” pioneers still in the biz, in this
era of thrashing queer grrrl bands and mainstream
Melissa.
“We just adore each other,” chimes in Tret
Fure, 45, Williamson’s partner in life and music.
U SÌC
m. i _ ----------------------------------------------
‘T ret’s my best friend. She loves me for who
I am and she makes me laugh every day,” says
Williamson.
OK, it’s sweet and gooey—like a merciless
stream of molasses—but it’s forgiven in light of
the fact that our interview with the captivated
couple occurred on Valentine’s Day.
By no small coincidence, Feb. 14 also marked
the official release date of the duo’s second full"
length collaborative effort, Between the Covers, a
collection of 14 original works which celebrate
Fure and Williamson’s love for one another.
“We wrote a lot of it together and it really took
on a life of its own,” says Williamson, whose
celebrated career commenced more than three
decades ago.
Despite the astronomical changes, however,
Fure and Williamson seemed to have burrowed in
and secured a niche, and they say there’s some­
thing about this latest release in particular that
grabs listeners.
“Between the Covers is a reflection of our
relationship,” says Williamson, referring to her
partnership with Fure. “Celebrating and sharing
that seems to be very meaningful to a lot of
people.”
That may be because one thing that never goes
out of style is love—and in all probability finding
a soul mate is an appetizing concept whether you
are a multiply pierced 16-year-old living on the
streets of L.A. or a seventysomething woman
residing in a Florida trailer park. It simply speaks
to people of all stripes.
“We’re being more open and sharing with our
relationship,” says Fure, whose resume is vast.
Fure has produced and engineered several
Williamson projects including Blue Rider, Live at
Carnegie Hall, Prairie Fire, Snow Angel, Wolf
Moon, and their first full-length collaboration,
Postcards from Paradise. She also has three solo
works— Terminal Hold, Edges o f the Heart and
Time Turns the Moon, all of which were issued on
Second Wave Records, an offshoot of Olivia
Records.
Not surprisingly, it was their professional pas­
sions that initially brought Fure and Williamson
together when, in 1981, Fure engineered a
children’s record for Williamson.
2
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Cris Williamson and Tret Fure
Cris Williamson and Tret Fure will perform at
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The rest, as they say, is herstory.
Between the Covers, which was recorded at
the Institute for Musical Arts in Bodega, Calif.,
and the couple’s home studio in Marcóla, Oregon,
offers a glimpse into the twosome’s long-term
relationship.
The disc, which was produced by the couple
and June Millington, includes a track penned by
Williamson for Fure’s birthday chronicling their
honeymoon in Taos.
“Sixteen years,” says Williamson. “Some
people think that if you’re that content and happy
it must be boring. We’re here to tell them that it’s
not.”
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Box Office Phone:
It has, in fact, been 22 years since she recorded
the now-classic The Changer and the Changed,
which was created during a period when women’s
music was unabashedly fueled by politics, and the
voices of Williamson, Holly Near, Margie Adam
and Meg Christian beckoned women to “fight
back,” among other bold deeds.
“People would flock to those shows by the
thousands,” recalls Williamson, who co-founded
Olivia Records, an independent women’s label
which issued 14 of her titles. Between the Covers
is Williamson’s 20th release and the debut of
Williamson and Fure’s new record label, Wolf
Moon Records.
“A lot of our friends [from the pack of ’70s
musicians] are out of work now, and our shows
certainly don’t draw the way they did 15 years
ago,” says Williamson, acknowledging head-on
the seismic shifts over the past decade-plus in
dyke culture, the music world and society as a
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